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Agatha Grigorescu-Bacovia, la partenaire de vie du poète George Bacovia, partage la sensibilité artistique du créateur, son goût pour la pratique d’autres arts tels la musique. Les mémoires d’Agatha Grigorescu-Bacovia restent pour le chercheur une démarche de récuperation de la mémoire du grand poète.
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Review of: KENLON, S.: DEVELOPING GAMES ON THE RASPBERRY PI. App Programming with Lua and LÖVE. New Zealand, Berkeley : Apress, 2019. 319 p. ISBN 978-1-4842-4169-1.
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Review of: JOHNSON, G.: Developing Creative Content for Games. Boca Raton,FL : Taylor & Francis, 2019. 296 p. ISBN 978-1-4987-7766-7.
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There is quite a rich history of competitive games being played on various levels in Slovakia. There were dozens of semi-professional teams in various games and even some professional organizations when eSport started to make waves.
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Game Days is the one and only Slovak international digital-game festival. This unique event highlights innovative digital games that have artistic value, and focuses on their comprehensive presentation. From May 30 to June 2, 2019, Nádvorie, the Place for Contemporary Culture in Trnava, Slovakia, hosted this event bursting with talks and presentations by prominent digital game developers from Slovakia and abroad.
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The European Conference on Game-Based Learning (ECGBL) is an annual conference attracting people from all corners of the globe who are interested in the current research into games-based learning. Now in its 13th year the conference has previously run in the UK, France, Austria, Norway, Ireland, Portugal, Greece and Germany. This year 250 people from 30 different countries participated in the conference in Odense at the University of Southern Denmark.
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Imagine that we could all see the way one perceives reality. A thoughtful process with image and sound. Complete, with emotional and informational value. Pure and true. This has been happening throughout history by people with their own imaginative gift interpreted in all different media. Growing equally with the growth of our civilization, science and technology.
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Comparative studies devoted to the work of Taras Shevchenko and Mikhail Lermontov began in the 1920s. However, there are still many unresolved problems in this area. An attempt at a comparative psychological-biographical analysis makes it possible to identify the exclusive spiritual kinship of the two poets.
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Brochures, journalistic publications and literary texts in German language that addressed the issues of the Upper Silesia borderland in the years 1918–1922 aimed not only at the strengthening of the German identity of the region, but – to no lesser extent – by the use of the figures of otherness and escapist depiction strategies matched the trend of texts that make use of a specific narrative of trauma. The strategy implemented by a numerous group of authors (including, among others, Kurt Petzold, Friedrich Gothein, Robert Kurpiun or Wilhelm Volz) consisting in the creation of areas of social unconscious, the use of unequivocal depiction patterns, often out of touch with the reality, as well as the description of current affairs with ubiquitous hyperbole and superlativisation – these are merely some of the distinctive features of German language journalistic and literary texts that were intended to shape the public opinion and mould collective mood in an instrumental way, thus influencing the form and the course of the social and political processes.
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After the May Coup and the appointment of Michał Grażyński – supported by the Union of Silesian Insurgents – as the voivode of the Silesian voivodeship, a new approach to the figure of a “Silesian insurgent” was marked in the monumental sculpture. It corresponded with the mythologisation of the Uprisings, which was accomplished in the Sanation propaganda. The Polish military actions in the years 1919–1921 were depicted as a spontaneous, liberating and victorious revolt of the “Upper Silesia folk” viewed as a homogenous entity, an outbreak consistent with the tradition of national uprisings, granting legitimacy not only to the Polish rule in Upper Silesia, but also to the special position of a chivalric insurgent in public life. This myth was applied instrumentally for the purpose of the fight, not only against Germans, but also against Korfanty’s Chadecja (Polish Christian Democratic Party). Korfanty would be depicted as a cunctator or even a traitor, whose weakness would contrast with the moral robustness of an insurgent-worker. In the Silesian voivodeship, the new image of an insurgent was formulated in the works by Stefan Zbigniewicz and Jan Raszka, sculptors related to Kraków. The former designed a monument in Królewska Huta, a city dominated by German minority, creating a figure of a muscular hero in a steelworker’s apron who held a freshly forged sword and faced the German border. Raszka used a more dynamic image in his relief in the edifice of the Silesian Parliament in Katowice and in his monument in Bogucice, presenting an insurgent-steelworker in the act of performing a mighty swing of a hammer. The artists emphasised the timelessness of the “insurgent deed” by rendering an aspect of antiquity and reference to the imagery of Vulcan and Hercules and to the chivalric ethos. It is to this new image of an insurgent that Antoni Miszewski referred in his decoration of the Governmental Palace during the Polish General Exhibition in Poznań in 1929, where the struggling for the Polish Upper Silesia was integrated into the political cult of marshal Józef Piłsudski. It was likewise evident in the monument designed by the Croatian sculptor Antun Augustinčić for Katowice.
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The subject of this article is the discussion of the Silesian film oeuvre by Kazimierz Kutz with special emphasis on the film The Beads of One Rosary (Paciorki jednego różańca, 1979). The research aim is to recapitulate the anthropological reflection on the Silesian trilogy and to provide an additional geocultural perspective to track the relationships between place and identity and the meaning of the location-related artistic creation represented by the author. The essential thesis developed in the text is the statement concerning the role of the film as a medium of cultural memory, a record of the culture matter and the anthropological experience inherent in it, which today constitute a trace of the tradition that disappears inevitably due to civilisational processes and along with the passing of the generations of people who cultivate it.
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The security apparatus administered by communists played one of the main roles in the activities aiming at the establishment of the totalitarian political system. Such activities undermined in particular the autonomy of the Catholic Church. A proper illustration thereof can be the activities of the security apparatus in Opole Silesia and the neighbouring territories in the years 1945–1950 and in Opole voivodeship in the years 1950–1956. In spite of huge effort at its implementation, the totalitarian vision of the statehood finally proved to be an unrealisable utopia. In the case of Poland, it was definitely shattered by the political breakthrough of October 1956. Not only did the Catholic Church manage to retain its autonomy, but it even came out internally stronger from the struggle for its defence. Nevertheless, under the specific social conditions in Opole Silesia, the communists’ fight against the Church brought evident damage, from the point of view of the Polish raison d'état. Numerous signs indicate that due to its negative reception among the autochthonous population, it contributed to a remarkable extent to the strengthening of pro-German attitudes among Silesians.
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The text is one of Jean Piaget's most astonishing works, which was written in the beginning of his professional career as a psychologist and researcher of the child's psyche - this is the book „Child's Conception of the World“. An analysis was made of the biographical and professional context in which the book was written and an emphasis is put on the influence of the psychoanalytical ideas over Piaget's early works. In the text, the highlight is the analysis of the used method of clinical interviewing of children in order to achieve the research goals. A view on the contemporary interpretations of the data Piaget obtained is suggested in the text, as well as ideas for a psychoanalytical reading of the children's answers.
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The text is dedicated to the 80th anniversary of Correspondent member of BAS, ScD. Rumyana Radkova, a prominent researcher of Bulgarian Revival. The scientific biography of the researcher is briefly presented and a concise historiographical overview of the most significant of her works is made. For a better presentation of her scientific works, parallels with works of artists have been used: the works devoted to historical and geographical objects are compared with landscapes, biographical works with portraits of individual national revivalists, and the research on social groups with collective portrait compositions.
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The purpose of this study is to demonstrate that in Romanian Interwar Novel we could find a cartography of rural space. Even in the modern writer Camil Petrescu’s fiction we will analyse many rural spaces that we could find in some of his novel. Also, in another novels we found out that the rural space plays an important role, in the construction of the narrative plot.
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An introductory text on the 20th anniversary of SLEDVA by the editor-in-chief, Bilyana Kourtasheva: the outcome is 40 issues, more than 4000 pages on university culture hallmarked by the New Bulgarian University; among the contributors are both renowned academics and students; some of the aspiring young authors have become well known names in their fields.
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